Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.249
Rebecca Kosick
Across her diverse body of work, the Canadian-born poet Anne Carson repeatedly returns to the objects of her preoccupation. From Lazarus—“a person who had to die twice” (Nox)—to Herakles and countless other figures, themes, and images, Carson repeatedly reworks old ground, particularly around the unknowable divide separating the living and the dead. This essay adopts a repetitive approach to explore how H of H and The Trojan Women can be understood as in reiterative conversation with the poet’s source texts, her own work, and wider thinking on the utility of repeating ourselves.
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.229
Laura Jansen
This essay serves as an introduction to Anne Carson’s Euripides. It discusses Carson’s ongoing engagement with the tragedian, from Grief Lessons to her latest experimental H of H Playbook and The Trojan Women: A Comic, drawing attention to Carson’s cross-pollinating approach to Euripidean tragedy and antiquity more broadly, as well as the characteristic blending of academic and artistic styles that inform her translation poetics. The introduction includes details of the themes explored in the special issue, together with summaries of the eight ‘takes’ that make up the collection.
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.237
Laura Jansen
This piece looks into the atmospheric and catastrophic environments that punctuate H of H: storms, ice-breaks, volcanic eruptions, and nuclear explosions that give the tragic narrative an electrifying edge. It draws attention to a “chemical” poetics at the heart of Carson’s translation technique and thinking about Euripides’ play. This mannerism, also found in Euripides’s “combustible mixture of realism and extremism” (Grief Lessons, blurb), is not exclusive to H of H. It can be detected across Carson’s oeuvre – a tendency to combust the reader’s mind in ways that become a philosophy for re-reading Euripides and, more ambitiously, Carson’s own sense of the tragic.
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.293
Ian Rae
This essay examines Carson’s The Trojan Women: A Comic, a 2021 translation of Euripides illustrated by Rosanna Bruno. Carson’s subtitle, through the intersection of classical and modern senses of “the comic” as a genre, demands that the reader ask of her book: What is the place of comedy in a comic about one of the bleakest plays in the Western canon? The comic elements of The Trojan Women reframe Euripides’ narrative and underscore, in a bitter irony, the disastrous impact on the Greeks of the reconciliation of the gods Athena and Poseidon.
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.302
Phoebe Giannisi
This piece reproduces verbatim a performative talk on Anne Carson’s and Rosanna Bruno’s The Trojan Women: A Comic. The performance draws on my own poetry and installation-video art on the ancient Greek mythical figure Chimera, which I conceive as a composite being, a creature where different species meet inside one body as various bodily parts. I interlace commentary-poems, fragments, interviews, brief citations and personal notes. Each “speech-part” of this chimeric essay then explores scene-setting, the motif of absence; animal poetics, and linguistic expression in the comic play, while underscoring the potential of my approach to capture Carson and her own chimeric work. More ambitiously, the essay challenges fixed notions of how academic and creative ideas should be framed and uttered.
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.263
Patrice Rankine
This essay investigates the linguistic, artistic, and typographical dimensions of Anne Carson’s H of H Playbook and Trojan Women by Euripides: A Comedy. I argue that graphic design and design-thinking principles provide a useful and unexplored theoretical framework for deciphering these books, given the often-complex relationship in them between image and words, and sometimes even words presented in different typeface and handwriting. Carson worked in graphic design for a time, and as a poet, words – and metaphor, specifically – are her primary design tool. Language works in tandem with image and form to create broader artistic meaning.
这篇文章探讨了安妮-卡森（Anne Carson）的《H of H Playbook》和欧里庇得斯（Euripides）的《特洛伊妇女》在语言、艺术和排版方面的问题：喜剧》。我认为，平面设计和设计思维原则为解读这两本书提供了一个有用的、尚未被探索的理论框架，因为在这两本书中，图像和文字之间的关系往往很复杂，有时甚至是以不同字体和笔迹呈现的文字。卡森曾从事过一段时间的平面设计工作，作为一名诗人，文字--特别是隐喻--是她的主要设计工具。语言与图像和形式相互配合，创造出更广泛的艺术意义。
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.280
Mario Telò
This paper considers Carson’s rewriting of Heracles’ tragic madness— through the art of collage, an assembling and disassambling of textual fragments, scraps of papers, drawings, chromatic smears, and sketches—as an imagistic site for theorizing the anti-normative materiality, physical and metaphysical, of par-a-noia. I make a case for a materiality of par-a-noia by proposing a comparison with Alain Badiou’s Marxist political formalism. The distinctive formal trait of H of H, verbal and pictorial juxtaposition, invites us to think of par-a-noia as an aesthetico-political radicality located on the edge of a voiding of thought (noein), a radicality that, as I suggest at the end, can be aligned with modes of non-normate cognition, with neuroqueer countersociality.
本文认为，卡森通过拼贴艺术对赫拉克勒斯的疯狂悲剧进行重写，将文本片段、纸屑、图画、色彩涂抹和素描进行组合和拆解，以此作为一个想象的场所，来理论化par-a-noia的反规范物质性、物理性和形而上学性。通过与阿兰-巴迪欧（Alain Badiou）的马克思主义政治形式主义进行比较，我为 "准-厌 "的物质性提供了论据。H of H》的独特形式特征--语言与图像并置--让我们将par-a-noia视为一种美学政治激进主义，它位于思想空洞（noein）的边缘，正如我在最后所建议的那样，这种激进主义可以与非规范认知模式、与神经怪异者的反社会性相一致。
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.311
Sarah Nooter
This essay examines two distinct modes of sonic disjunction in Rosanna Bruno and Anne Carson’s The Trojan Women: A Comic and Carson’s H of H Playbook. The Trojan Women shows how noticing sounds that are dislocated from expectations exposes hard truths about reality. H of H interrogates our “regular” mode of hearing other people and implies that there is a gap in how we can know others and know ourselves. Thus, though both are graphic texts, their power and effect are nonetheless garnered also through the sounds they describe and conjure in the minds of their readers.
这篇文章探讨了罗珊娜-布鲁诺和安妮-卡森的《特洛伊妇女》中两种截然不同的声波分离模式：A Comic》和卡森的《H of H Playbook》中两种截然不同的声音分离模式。特洛伊妇女》展示了如何注意到与预期脱节的声音，从而揭露现实的真相。H of H》对我们聆听他人的 "常规 "模式提出了质疑，并暗示我们在如何认识他人和认识自己方面存在差距。因此，虽然这两部作品都是图画文本，但它们的力量和效果也是通过它们描述的声音和在读者脑海中浮现的声音获得的。
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Pub Date : 2023-10-01DOI: 10.1525/ca.2023.42.2.322
Gina Prat Lilly
In this interview-essay, artist Rosanna Bruno talks with the author about her illustrations of The Trojan Women, a comic-book made in collaboration with Anne Carson. Bruno’s illustrations offer the reader an oblique entry into a devastated Troy: they are translation “at a slant.” The artist speaks on going against what is visually expected or plausible, in her use of surprising imagery to convey and counterpoint suffering, and touches upon the use of humor to bring the tragedy into sharp focus. Bruno explains how the comic-book format can communicate radical ideas in the interdependence of word and image. She talks through creating the feeling of live theater and the emotional tenor brought about by an almost entirely non-human cast: dogs, cows, a huge wave, a turnip-like rootling, a pair of dungarees. The illustrator elucidates the collaborative process between herself and Carson, revealing the various iterations of characters before they settled on their final forms, and the materials and methodologies Bruno employed in its rendering.
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